Podcasts about ufo club

Joe Boyd's revered productions of artists ranging from Pink Floyd, The Incredible String Band and Nick Drake had been widely-circulated and universally-acclaimed. He had worked with Stanley Kubrick at Warner Bros to assemble the soundtrack to A Clockwork Orange. He founded the UFO Club which featured avant-garde artists like Soft Machine — which became his house band — and Yoko Ono. Productions of R.E.M., Billy Bragg, 10,000 Maniacs, Fairport Convention and Richard and Linda Thompson followed. He directed Jimi Hendrix, the eponymous documentary. But if you were paying attention, you would have made note of the through-line running through Joe's prolific output — World Music. His productions of artists such as Dagmar Krause, Nazakat & Salamat Ali, the Trio Bulgarka, ¡Cubanismo!, Virginia Rodrigues, Damir Imamović and several others demonstrated his versatility to trancend not only genre, but also language and culture. Joe's vibrant musical output eclipsed what we thought was possible in the art and science of music. His latest book, And the Roots of Rhythm Remain, examines the origins, impact and cultural undertones which define world music through his lens. In our conversation, we discussed the roots of his latest masterpiece; political-songwriting through shifting of culture; categorization as a benefit toward creativity; and musical and storytelling experiences with Brian Eno, David Bryne, Bob Dylan, Mike Heron and others.Opening Credits: 1st Contact - Just Quickly I CC BY-SA; Ahmadreza Safarian - Forgotten Corpses I CC BY-NC-SA. Closing Credits: Till Paradiso - Here the Stars for You (TP 063) - CC BY-NC-SA.

On the December 23 edition of the Music History Today podcast, Ice Cube gets bounced, the UFO Club opens, & happy birthday to Eddie Vedder & Derek Small of Spinal Tap For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

On this, our 20th episode, we speak with a person who has chosen to go by the pseudonym of "Mick the Hat", and when you listen you'll certainly understand why. One of our favorite things to do on this podcast is to interview people who have knowledge that no one else in the world possesses, and who can shed light on some of the most legendary events in the history of Pink Floyd. Mick the Hat is one of those people. For anyone interested in the saga of Pink Floyd live recordings and vinyl bootlegs, you won't want to miss a minute of Mick the Hat's recollections, as elicited by podcast producer and interviewer Ian Priston. His tales of BFI busts gone wrong, of taping some of the most beloved shows in Pink Floyd history, and of dealing with some of the quirkiest characters out there, are one of a kind revelations that you won't hear anywhere else.

Pink Floyd's 1967 concerts were raw, fast and unpredictable musical experiences. Many concert setlists are incomplete or missing. The best-surviving evidence exists in snippets of film, two BBC radio sessions, photographs and three audience recordings captured between September and November 1967. In this episode, we reflect on this essential cluster of amateur recordings: who taped them and how, what to listen for, the degree to which they reflect Syd's withdrawal, what's missing and the possibilities for the existing tapes and new discoveries. Seek out• September 10th at Gyllene Cirkeln, Stockholm, Sweden • September 13th at Starclub, Copenhagen, Denmark, and• November 13th at Hippy Happy Fair, De Oude-Ahoy Hallen, Ahoy Heliport, Rotterdam, The Netherlands And join us for a Reaction in G.

On the December 23 edition of the Music History Today podcast, Ice Cube gets bounced, the UFO Club opens, & happy birthday to Eddie Vedder & Derek Small of Spinal Tap  ALL MY MUSIC HISTORY TODAY PODCAST LINKS - https://allmylinks.com/musichistorytoday  ALL MY MUSIC HALLS OF FAME PODCAST LINKS - https://allmylinks.com/musichallsoffamepodcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Col Turner is an influential and significant figure amongst Pink Floyd fans across the globe who has been following Pink Floyd since 1966.We discuss Col's UFO Club experiences and the London scene. Col emigrated after the Hyde Park 1970 concert and reconnected to the band in Australia in 1971 and 1988. Perhaps best known for 'A Fleeting Glimpse' (www.pinkfloydz.com), Col's website was created 25 years ago and features countless stories, interviews and fascinating Pink Floyd insights.Col has met Roger Waters on four occasions and, as you will hear, it hasn't always gone smoothly.Join us to hear Col, Nils and Ian enjoy a warmhearted conversation and stories from this superfan's 57 year Pink Floyd journey.Facebook ' A Fleeting Glimpse': https://www.facebook.com/PinkFloydAFleetingGlimpse/

Episode 159. Choice tracks from The Crime Family, Faust, Shangri-Lass, Byrdie Green, The UFO Club, When People Were Shorter and Lived Near the Water, Lee Hazlewood, and so many more.

Danny "Lee Blackwell" Rajan Billingsley is a multi-instrumentalist, singer-songwriter and founding member of Night Beats. His is, alongside Carolina Faruolo, one half of the Tropicalia infused psych rock band Abraxas and also a co-collaborator in the UFO Club with Christian Bland from The Black Angels. Rajan, the newest release from Night Beats, is a rhythmically humid psychedelic odyssey that touches on R&B, Anatolian funk, 60's pop and celebrates hypnosis of dub. In this episode we talk about Danny's parameter less approach to songwriting and the role of "rule breaking". Danny shares his point of view of "world rock" as a kid growing up in Dallas and why the young Danny found himself as a failed gatekeeper of cultural traditions. We learn how he uses rhythm to build his various projects and we hear a couple tunes from Rajan. This episode supported by Native Instruments, iZotope, and Plugin Alliance. Check out "Summer of Sound", the best ever savings on ALL software, with 50% off products, updates, and upgrades, plus special hardware and software bundle deals . Visit all 3 online shops to capture these insane deals! Native Instruments Izotope Plugin Alliance Suicide Squeeze Night Beats

On the December 23 edition of the Music History Today podcast, Ice Cube gets bounced, Rod Stewart goes disco, the UFO Club opens, & happy birthday to Eddie Vedder & Derek Small of Spinal Tap ALL MY MUSIC HISTORY TODAY PODCAST LINKS - https://allmylinks.com/musichistorytoday ALL MY MUSIC HALLS OF FAME PODCAST LINKS - https://allmylinks.com/musichallsoffamepodcast --- Send in a voice message: https://anchor.fm/musichistorytodaypodcast/message Support this podcast: https://anchor.fm/musichistorytodaypodcast/support

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

When Joe Boyd moved to London in the mid-‘60s, he had no idea how he'd change the music world. He opened the soon-to-be-legendary underground UFO Club and produced the first single by its house band, Pink Floyd. He also produced Fairport Convention, which rebounded from a tragic crash and basically invented British folk rock; the Incredible String Band, whose Woodstock appearance remains Boyd's biggest professional regret; and Nick Drake, who was plagued by his lack of commercial success in his short lifetime. And that takes us just into the early ‘70s, with adventures with Aretha Franklin, smash singles involving banjos and a camel, and landmark work with Richard and Linda Thompson, R.E.M. and many others to follow. Enjoy Part 1.

The legendary God of Hellfire himself, Arthur Brown, is still going strong at age 80. Arthur is releasing a new album Oct. 21 called Monster's Ball. Just in time for spooky season, Brown's latest album mixes humor and terror and features a host of fantastic guest musicians. He was kind enough to spend some time with me to talk about the new release, how he came to choose some of the songs, his work with such artists as Iron Maiden's Bruce Dickinson, the Alan Parsons Project, and Carl Palmer, hanging out at the UFO Club with the likes of Pink Floyd, and his musical beginnings. Big thanks to Arthur for his time. This interview was a real treat. To learn more about Arthur and his music, please visit thegodofhellfire.com.  Reminder: You can support independent podcasting by becoming a Michael's Record Collection Patreon subscriber starting at only $2 per month (50 cents an episode...or less!) at the MRC Patreon page. Supporter benefits escalate at each level, providing more value the more you support the show. For example, you will know about interviews in advance and some levels can submit questions for the artists, come on the show to co-host, enter prize drawings, and more.  Please hit the like button and leave a rating/review on Apple Music or the Goodpods app if you consume this podcast on those platforms. You can read my Michael's Record Collection newsletter for free by signing up at michaelsrecordcollection.substack.com. Follow MRC on Twitter (@MikesRecords), like it on Facebook, and follow on Instagram. Have questions or comments or want to suggest a topic? Hit me up at michaelsrecordcollection@gmail.com.

Yuky und Christopher im Gespräch mit Mark Reeder: Über das Aufwachsen in Manchester in den 60'er/70'er Jahren, die Entstehung von Punk und erste Shows der Buzzcocks, Sex Pistols, Eater, Johnny Thunders & The Heartbreakers, V2 und Slaughter & The Dogs. Army-Haarschnitt und die Haare von John Lennon, Punk als Protest in musikalischer Form, Vivienne Westwoods Klamottenrecycling, eine Band als Modenschau, günstige Kleidung aus Army-Läden, Job mit 14 beim lokalen Plattenladen Virgin Records, zum ersten Mal von Punkmusik in der Zeitung The Sun lesen, Sex Pistols verpassen im Juni 1976, The Damneds „New Rose“ und der „Wow, was ist das?!“-Moment, „Anarchy in the UK“ und große Empörung als Start für etwas Neues, Zigaretten ausdrücken auf Vinyl, Aufwachsen in der Arbeiterklasse und als Kind in Bibliotheken abhängen, Schulmobbing für den Schuh- und Musikgeschmack, Zwilling sein, Faust-Schallplatten, der Vorteil von Schuluniformen und Uniformen im Alltag, der Einfluss des 1. Weltkrieges auf die Mode, die Styles der Beatles, Speed als Punk-Droge, allererstes Konzert: in Schuluniform auf der Gästeliste bei Roxy Music, was macht Brian Eno am Synthesizer, Zuhause lügen um aufs Konzert zu gehen, Black Sabbath, KISS auf einem Pritschenwagen, psychedelischer Spacerock- von Hawkwind, die Liebe für Science-Fiction, „Telstar“ von den Tornadoes, Motörhead, The Pink Fairies, MC5, The Stooges, New York Dolls und The Ramones, Talking Heads, Devo als Vorband der pseudo Fun-Punk-Band Alberto Y Lost Trios Paranoias in Manchester, New Wave als die kreativ-künstlerische Version von Punkrock, Punk als Ausdruck des Nicht-gehört-werdens und von Langeweile, Modellflugzeuge aus Holz, Roxy & Bowie-Nächte in Manchesters Nachtleben, Rivalität und Abgrenzung innerhalb der Szene, eine gemeinsame Band mit Mick Hucknall von Simply Red, Punkband auf Majorlabels, Musik machen als Weg aus der Misere, von Hippie zu Rock zu Glitter zu Punk zu Post-Punk, Plastic Bertrands „Ça plane pour moi“ und Jilted John als Parodie, Donna Summers und Howard Devoto, die Freundschaft mit Ian Curtis und die Anfänge von Warsaw/Joy Division. Deutschland als Krautrock Mekka, die Umsiedlung nach West-Berlin 1978, das Punkhaus und die Sound Discothek, Gudrun Gut und Bettina Köster als Herzschlag der frühen Berliner Szene, der Job als deutscher Repräsentant von Factory Records, 58 zahlende Gäste bei Joy Division im Kant Kino, die Bedeutung der Zeitschriften Sounds und Melody Maker, Punk im Fluchtort Berliner im Schnelldurchlauf, Last Night im Exxcess 1979 und das Finden einer neuen eigenen künstlerischen Definition mit Malaria, den Einstürzenden Neubauten und Die Tödliche Doris, Miete 80 DM, Jobs als Manager von Malaria, Campino als Fahrer, die Arbeit als Livesound Engineer u.a. bei Die Toten Hosen, die Risiko Bar, das S.O.36, das Franken und der Penguin Club. Seine Post-Punk/Synthband Die Unbekannten; Die Haut und seine Verbindung mit Blixa Bargeld, Nick Cave und The Birthday Party. John Peel als Stimme der Freiheit. Sein Doku-Film „B-Movie: Lust und Sound in West-Berlin 1979-1989“, Die Faszination für und Erforschung des sog. Ostblocks und das Aufbauen von Verbindungen zum Untergrund nach Ost-Berlin Anfang der 80'er Jahre. Stasi Einstufung als „subversiv und dekadent“, Kassetten-Schmuggeln und die Koordination illegaler Konzerte von Die Toten Hosen in Ost-Berlin mit der Band Planlos und später Die Vision. Das Metropol als Inspiration von Bernett Sumner für das Haçienda in Manchester, der UFO Club und High Energy Acid House. Die Wende, der Mauerfall und die Momente absoluter Freiheit und positiver Energie in der entstehenden Techno-Szene. Die Gründung seines Labels MFS bei Amiga mit Mute Recs als Vorbild als Anlaufstelle für Kids aus dem Osten mit Büro im Abhörraum 101 von Hermann Göring. Erste Veröffentlichungen von Paul van Dyke und Cosmic Baby, die Compilation „Tranceformed From Beyond“ uvm.

In this week's episode...Shawna, Lindsey, and Miranda discuss plans to colonize Mars and a UFO conspiracy theory turned assassination plot. Featured Drink: Alien Secretion For more information on the law or case discussed, check out the following links: Law on Mars? Why Elon Musk is Writing the Red Planet's Constitution No, Mars is Not a Free Planet OUT THERE UFO Fan Ruled Unfit for Trial Bellport Man Who Conspired to Kill GOP Officials with Radium in Toothpaste Wins Transfer Order Long Island's UFO Plot Trial --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lawsalooza/support

They are a shadowy component of the UFO phenomena, they appear after a sighting to silent witnesses and warn them away but who are the men in black and where did they come from?In 1947 In the earliest days of the modern UFO era Ray Palmer would write an account of and UFO crash near Maury Island, following this crash the witness would claim he was harassed by a  man dressed all in black who told him never to speak of the incident again.  Later the witnesses would claim the incident was a hoax and never talk about it again.In 1952 Enthusiast and Researcher  Albert K Bender would found the world's first UFO CLUB the IBFS and publish a successful quarterly newsletter for its  members. Shortly after founding the Bureau Bender began to run into various problems and a year later in 1953 he shut down the IFSB after being visited by three strange men in black suits who told him to leave the topic alone and to stop publishing his newsletter.  Gray Barker one of the IFSB members would record Benders incident in his 1956 his book They knew to Much About Flying saucers to paint a story about mysterious government shadow men dressed  in black who had harassed Bender.  These entities would come to be called the Men In Black. Several years later in 1962 Bender would write his own book Flying saucers the 3 men in which he  revealed the reason he had disbanded the IFSB. He claimed the that the MIB were of extraterrestrial origin and that they had their own agenda, a 15 year mission, they had warned Bender not to speak until after their mission was completed and they had left, which he did.  Are the MIB just a legend, a hoax? A legend by a clever writer created from a retelling of a hallucination? What about the 2004 reports of strange government agents who allegedly seized the original radar tapes of the TIC-TAC incident and more oddly who are the men in plaid that are said to coerce BF and dogman witnesses to keep silent?Join us as we look deep at the legends and see if there is any truth to the legend of the MIB on this episode of wild and weird radio.MORE LINKS available in the video version of this podcast:https://youtu.be/kmvgqt5h_3EHistory MIB:https://www.history.com/news/men-in-b...

We're in the dog days of summer, and August 1992 has some movies that are dogs. But we're going to make it fun anyway with lots of New and New To You, and trying our best to recall our featured fan selection film, Unforgiven.Check out Michael and Steven's movie, UFO Club! http://ufoclubfilm.com/Follow @BoxOffice30 on Twitter and Facebook and @BoxOfficeThirty on Instagram! Visit us on the web at www.BoxOffice30.com!Box Office 30 Merchandise is now available at our brand new TeePublic shop: https://www.teepublic.com/user/box-office-30 ★ Support this podcast on Patreon ★

We're a little off schedule this month but here it is; our 50th episode of Box Office 30! July 1992 is an amazing month for movies, so join us as we dive in to this cool summer list.Check out Michael and Steven's movie, UFO Club! http://ufoclubfilm.com/Follow @BoxOffice30 on Twitter and Facebook and @BoxOfficeThirty on Instagram! Visit us on the web at www.BoxOffice30.com!Box Office 30 Merchandise is now available at our brand new TeePublic shop: https://www.teepublic.com/user/box-office-30★ Support this podcast on Patreon ★

On the December 23 edition of the Music History Today podcast, Ice Cube gets bounced, Rod Stewart goes disco, the UFO Club opens, & happy birthday to Eddie Vedder & Derek Small of Spinal Tap ALL MY LINKS - https://allmylinks.com/musichistorytoday --- Send in a voice message: https://anchor.fm/musichistorytodaypodcast/message Support this podcast: https://anchor.fm/musichistorytodaypodcast/support

Journalist and counterculture commentator Peter Watts joins us to talk about The UFO Club, the massively influential short-lived London club of the late 1960s established by Joe Boyd and John "Hoppy” Hopkins. It featured light shows, poetry readings, avant-garde art by Yoko Ono and many rock acts (Pink Floyd, Jimi Hendrix, Procul Harem) who later became massive. For a brief two year period, it acted as the epicentre of the whirligig of summer of love underground London with a 'who's who of the counterculture' guest list and set the standards for psychedelic fashion and design. Peter's blog on London and counterculture: www.greatwen.com  ---------- Get the Bureau's Newsletter   Support our wild endeavours   The Bureau of Lost Culture Home   Go on - follow, rate and review us - or be in touch directly bureauoflostculture@gmail.com We'd love to hear from you. -------------  

Mit Clé hatten wir einen der Protagonisten der Berliner Techno-Szene der ausgehenden 1980er und frühen 1990er Jahre zu Gast. Clé hat uns vorgemixten Old Fashioned aus der Melody Nelson Bar mitgebracht und mit dem Einfluss von Melody Nelson ist das Gespräch launig geworden und der Staffel angemessen ausgeufert: das Season Break zur 2. Staffel läuten wir nach 2 Stunden und 22 Minuten ein. In dieser Zeit erzählt Clé von DEN Läden der Zeit und entsprechend lang ist die Linkliste geworden. Wir wünschen Euch - und insbesondere Eva Be [

In dieser Folge des Telekom Electronic Beats Podcasts spricht Jakob Thoene mit Ellen Allien. Die DJ, Produzentin, Chefin ihrer Labels BPitch und UFO Inc. und gebürtige Berlinerin hat die aufblühende Technoszene ihrer Heimatstadt von Anfang an miterlebt. Die „Queen of Berlin“ spielte eine Schlüsselrolle bei der Verwandlung des zunächst lokalen Phänomens der Technokultur in eine international gefeierte Bewegung. Nach ihrem Schulabschluss Ende der ‘80er zieht sie zunächst nach London, um als Kindermädchen zu arbeiten und ihre Englischkenntnisse aufzubessern. Dort genießt sie die grenzenlose Freiheit des Londoner Nachtlebens, in Soho hört sie zum ersten Mal Acid House und verliebt sich in den Knall der Bassdrum auf der Tanzfläche. Ein Jahr später kehrt sie mit neuen Platten nach Berlin zurück, und findet einen Job als Barkeeperin im Fischlabor. Die Schöneberger Kneipe des späteren Tresor Gründer Dimitri Hegemann ist neben dem Ufo Club einer der ersten Orte Berlins, in dem Techno aufgelegt wird. Im Podcast spricht Ellen Allien über ihre ersten Erfahrungen als DJ in Clubs wie dem Tresor (Globus), E-Werk und dem Bunker, ein legendärer Ort, den sie im Januar 2021 im Rahmen der „United We Stream“ Initiative wieder bespielen durfte. Das Gebäude, das inzwischen die Boros Collection beherbergt, war zunächst ein Nazi-Bunker, lag während der DDR-Zeit in Ost-Berlin und wurde nach dem Mauerfall in den frühen ‘90er Jahren zum Club, in dem unter anderem die ersten Snax-Partys stattfanden. Anders als manche ihrer DJ-Kollegen, die Techno in den ‘90er Jahren erlebt haben, blickt Ellen Allien dennoch nicht allzu nostalgisch auf diese Zeit zurück, denn wie sie im Podcast verrät, hat sie damals nicht nur „Friede, Freude, Eierkuchen“ erlebt, sondern auch Sexismus und Rivalitäten zwischen DJs. Heute, sagt Ellen Allien, sei die Szene viel internationaler und die Beteiligung verschiedenster Akteure in der elektronischen Musikwelt stimmt sie optimistisch.

On the December 23 edition of the Music History Today podcast, Ice Cube gets bounced, Rod Stewart goes disco, the UFO Club opens, & happy birthday to Eddie Vedder & Derek Small of Spinal Tap

Wir haben uns sehr gefreut, dass Mijk van Dijk bei uns zu Gast war. Mijk hat bereits angefangen, Musik zu produzieren, bevor er mit der Auflegerei, ein bisschen in Verlegenheit, begonnen hat. Mijk war hautnah dabei, als Techno weltweit geradezu explodierte, spielte auf den großen Raves wie MayDay und veröffentlichte Platten auf Westbams Low Spirit Recordings. Der Anspieltipp aus dieser Folge ist, um in das zunächst recht fremde Genre erstmal zu reinzuschnuppern, Mijks Mix aus japanischem Citypop der 1980er Jahre. Viel Spaß. Social Media: Facebook: https://www.facebook.com/mijkvandijk Instagram: https//www.instagram.com/mijk_van_dijk/ Twitter: @mijkvandijk Microglobe: https://microglobe.de Mijks 5 Platten für die Insel: Marvin Gaye "What's Going On" (Tamla, 1971) Prince "Sign 'O The Times" (Warner Bros Records / Paisley Park Records, 1987) Various Artists "The History Of The House Sound Of Chicago" (BCM Records, 1988) Various Artists "Techno! The New Dance Sound of Detroit" (virgin Records, 1988) Manuel Göttsching "E2-E4" (Intima GmbH, 1981) Wikipedia: https://de.wikipedia.org/wiki/Mijk_van_Dijk Geesthacht: https://de.wikipedia.org/wiki/Geesthacht Bromfiets: https://nl.wikipedia.org/wiki/Bromfiets Network Press: https://de.wikipedia.org/wiki/Network_Press Cut: https://de.wikipedia.org/wiki/Cut_(Zeitschrift) Frontpage: https://de.wikipedia.org/wiki/Frontpage_(Zeitschrift) Dschungel: https://de.wikipedia.org/wiki/Dschungel_(Diskothek) Jetzt: https://de.wikipedia.org/wiki/Jetzt! The The: https://en.wikipedia.org/wiki/The_The Roland TR-505: https://en.wikipedia.org/wiki/Roland_TR-505 LinnDrum: https://dn.wikipedia.org/wiki/LinnDrum FM Synthese: https://de.wikipedia.org/wiki/FM-Synthese Hamburger Schule: https://de.wikipedia.org/wiki/Hamburger_Schule_(Popmusik) Blumfeld "Old Nobody": https://www.youtube.com/watch?v=D0hq2ymsULI M.A.R.R.S. "Pump Up The Volume": https://www.youtube.com/watch?v=w9gOQgfPW4Y Orchestra Hit: https://en.wikipedia.org/wiki/Orchestra_hit Yes "Owner Of A Lonely Heart": https://www.youtube.com/watch?v=SVOuYquXuuc Wilhelm Scream: https://de.wikipedia.org/wiki/Wilhelmsschrei Wilhelm Scream Top 10 (engl.): https://www.youtube.com/watch?v=W0V-2WdubTs Ufo (Club): https://www.wikiwand.com/de/Ufo_(Club,_Berlin) Snap!: https://de.wikipedia.org/wiki/Snap! Alexander O'Neal "Criticize": https://www.youtube.com/watch?v=LVNPV5V6O24 Human League "Human": https://www.youtube.com/watch?v=O_n3E3mZdm8 Joe Smooth "Promised Land": https://www.youtube.com/watch?v=V09x2y9MHbA Farley Jackmaster Funk feat. Darryl Pandy "Love Can't Turn Around": https://www.youtube.com/watch?v=LDtbXxemnPw Gary D.: https://de.wikipedia.org/wiki/Gary_D. Unit Club, Hamburg: https://marjorie-wiki.de/wiki/UNIT_(Diskothek) Front Club, Hamburg: https://de.wikipedia.org/wiki/Front_(Diskothek) Coldcut "What's That Noise?": https://www.discogs.com/de/Coldcut-Whats-That-Noise/master/19724 Bomb That Bass "Don't Make Me Wait": https://www.youtube.com/watch?v=b_42p66WeM0 Otaku: https://de.wikipedia.org/wiki/Otaku Neu "Hallogallo": https://www.youtube.com/watch?v=IoJfF6IHzB0 Fast Weltweit: https://de.wikipedia.org/wiki/Fast_Weltweit Phuture "Rise From Your Grave": https://www.youtube.com/watch?v=58DaThqqT14 Mijk van Dijk "All Our Colors": https://www.youtube.com/watch?v=V58yR5Jp55Q DJ Jauche "Just Realized" (Mijk van Dijk Remix)": https://www.youtube.com/watch?v=SStNLyJv5fQ An den Decks mit DJ Supermarkt:(Folge 11) https://www.youtube.com/watch?v=0Ba6mYIjmSg&t=4s Mijks Japan City Pop Mix: https://www.mixcloud.com/mijkvandijk/mijk-van-dijk-presents-japan-city-pop-of-the-80s/ Tatsuro Yamashita "For You": (Air Records, 1982) https://www.discogs.com/de/Tatsuro-Yamashita-For-You/release/2179374 Ruth Rockenschaub: https://de.wikipedia.org/wiki/Ruth_Rockenschaub Tanith: https://de.wikipedia.org/wiki/Tanith_(DJ) Tekknozid: https://de.wikipedia.org/wiki/Tekknozid DJ Roland BPM: https://de.wikipedia.org/wiki/Roland_138_BPM Fehlfarben"14 Tage": https://www.youtube.com/watch?v=d3jFIbUZ-ME #andendecks #djpodcast #mijkvandijk #thedirkness #djthomashaak #podcast #djlife #berlin

Peter Bebergal returns (previously on episode #180 with his book Strange Frequencies)  to discuss magic, witchcraft, and the occult and how those things impacted the world of Rock & Roll music.  Check the attachment to this episode for a bunch of music links relevant to the show and Peter's book Season of the Witch.   Speaking of books - Karen has a new one and I made an easy to remember shortcut to it on Amazon:  http://bit.ly/OnTheOffensive (The lettering case in that link does matter.) Discussed in the episode: Image of David Bowie in "Diamond Dogs" album (MOMA) Made for TV Movie: Devil Dog - The Hound of Hell The George Harrison "documentary" Karen mentions - Paul McCartney Really Is Dead: The Last Testament of George Harrison (There is a lot of mixed messaging out there on whether this is a serious but wacky documentary or a silly but confusing mockumentary. It was originally released as a documentary but the filmmaker has since reclassified it as "mockumentary" - was this for legal reasons?) FYI: The narration is not by George Harrison. The UFO Club in London was a short-lived hub of early lights & sounds and psychedelic imagery. It only operated over a two-year span but had a tremendous impact on music culture - and on posters for bands. Peter's original SOTW Spotify List (link) Song/Album Notes Fire (The Crazy World of Arthur Brown) Starts with the iconic (and parent-frightening) "I AM THE GOD OF HELLFIRE..." Sacred Songs (Daryl Hall) Daryl Hall (!?) album inspired by the work of Aleister Crowley Cross Road Blues (Robert Johnson) While the legend of the blues musician at the crossroads is often applied to Robert Johnson, it has earlier roots with... Cool Drink of Water Blues (Tommy Johnson) Tommy Johnson, not related to Robert, was the focus of an earlier version of the crossroads legend Anthology of American Folk Music (via archive.org) A partial selection of the 6-album (3, 2-record ea) set of American Folk Music curated by Harry Smith. The Piper at the Gates of Dawn (Pink Floyd) The Syd Barrett-led Pink Floyd would change a lot after Barrett's descent into mental illness, but there are psychedelic and occult themes in this eclectic early Floyd album. Interstellar Overdrive is a good long instrumental track to read Bebergal's book to. My Sweet Lord (George Harrison) Perhaps the most public of the musician seekers, Harrison's ode to the search for a connection to the numinous was very successful - and also (accidentally?) directly copied He's So Fine by The Chiffons. Shankar: Dhun (Ravi Shankar) Sitar would meet Guitar when the Beatles went to India and met gurus and traditional Indian musicians, most famously Ravi Shankar. Lucifer Rising soundtrack (Bobby BeauSoleil) The soundtrack to occult filmmaker Kenneth Anger's movie Lucifer Rising was supposed to be done by Led Zeppelin's Jimmy Page, but things happened. (This complicated story is covered in Bebergal's book.) War Pigs (Black Sabbath) The Ozzy Osborne led band would take its name from an Italian horror film, but like Alice Cooper, the "occult" aspects of Sabbath appear to be entirely performative. Consider Ozzy's paean to Aleister Crowley in which he fails to pronounce the old occultist's name right. (Crowley rhymes with holy.)  Sympathy for the Devil (The Rolling Stones) The Stones' "wicked" song - was it inspired by Baudelaire or Kenneth Anger? And how many times do the band sing "who? who?" in this 6-minute treat? Misty Mountain Hop (Led Zeppelin) Combining elements of Tolkien fantasy and drug-fueled psychedelic experiences, LZ music combined many elements of fictional and authentic occult imagery. Jimmy Page's interest in Aleister Crowley is legendary with him even buying Crowley's Loch Ness adjacent home Boleskin. Mephisto Waltz (Misfits) The punk band Misfits took their imagery and themes from horror movies and the occult as well. Jack Parsons (The Claypool Lennon Delirium) This came out after Bebergal's book, but this is an amazing modern throwback to the psychedelic era that also tells a weirdly surprisingly accurate story of Jack Parsons, occultist, and rocketeer. Hotter than Hell (KISS) KISS aligned itself with wild stage antics and imagery, but in the 1970s even having the word "hell" in your song titles could lead to allegations that your band's name really stood for "Knights in Satan's Service." (Narrator: It didn't.) Life on Mars? (David Bowie) Bowie's role in occult rock history is really quite peculiar and not what I expected. Often in drug-fueled paranoia of the occult, his off-stage behavior stands in stark contrast from the on-stage cool presence.  I wanted to include a song from him on this list and this peculiar antithesis to My Way is one I really like. After Cease to Exist (Throbbing Gristle) I'm not recommending this 20 min weird and disturbing soundscape - but if you're feeling a bit like Frank in Hellraiser and just wonder what the cenobites probably jam to?  Anyway, in Bebergal's book, there are some interesting tidbits about how Throbbing Gristle's members became involved with William S. Burroughs and the occult aspects of his life. Bela Lugosi's Dead (Bauhaus) The song that kicked off the goth scene. It doesn't take 9 mins to tell people that Bela Lugosi (the actor who played Dracula in the 1931 Universal horror film) is dead… but it does the Bauhaus way.  Hallowed Be Thy Name (Iron Maiden) Peter doesn't write about Iron Maiden in the book, but growing up in the 80s, Iron Maiden was one of the many reasons I refused to get a 96 Rock Card. I was so not into heavy metal and it was weird catching up on that stuff in my 40s instead of my teens. In Search Of Space (Hawkwind) Before Motorhead, Lemmy sang about UFOs. (Well, I think that's what he's singing about?) Door of the Cosmos (Sun Ra) Sun Ra's jazz music isn't really rock, but it's something. And I think magician Penn Jillette mentions Sun Ra about as often as he mentions James Randi. Witch Trial (Black Mass Lucifer) The pioneering electronic album Black Mass Lucifer - or is it Black Mass by Lucifer? - is an album by electronic music audio explorer Mort Garson. It's occult-themed but its weird MOOG tonal tapestries, without the context of title or lyrics, would be hard to classify as specifically "magic" themed.  The Tales of Topographic Oceans (Yes) A friend once described to me how that in the 1970s it was common to put on long, trippy albums and just stare at album artwork and go on imaginary journeys. With a cover by Roger Dean and just four songs, each about 20 mins in length, I think this is exactly what he was talking about. I once had an angry Navy training instructor basically spit at Yes's "Owner of a Lonely Heart" and shout to the class "It ain't Yes unless it takes 15 minutes to listen to and has a 5-minute guitar solo!" Apes**t (Beyonce and Jay-Z) Jay-Z has played around with the imagery of the illuminati and occult. Here's an article about the imagery use in the video for this song. Secular Haze (Ghost B.C.) Combines ghoulish occult imagery with monk garb and skeletal makeup. Swedish in origin, but not flat-packed. 

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Se fundó en 1969 en la ciudad de Londres por Phil Mogg en la voz, Mick Bolton en la guitarra, Pete Way en el bajo y por Andy Parker en la batería, inicialmente bajo el nombre de Hocus Pocus. En el mismo año y durante una presentación en el bar UFO Club de la capital británica, fueron descubiertos por Noel Moore propietario del sello Beacon Records, que les ofreció su primer contrato discográfico. Tras ello, decidieron cambiar su nombre al actual en honor al club londinense.2? En julio de 1970 ingresaron a los Estudios Jackson para grabar su álbum debut UFO 1, publicado en octubre del mismo año. Este primer trabajo recibió gran atención en Japón, Francia y en Alemania, gracias al clásico sonido del hard rock aunque con toques del rock psicodélico.3? El álbum contó con una versión del tema «C'mon Everybody» del cantante Eddie Cochran, que obtuvo el primer lugar en las listas del país nipón.4? Al año siguiente publicaron el álbum UFO 2: Flying, que contiene solo cinco canciones con sonidos mezclados entre el hard rock, rock espacial y el heavy metal. Con este segundo trabajo volvieron a cosechar éxito en el país asiático y en otros países de Europa, sin embargo no llamó la atención en el Reino Unido ni en los Estados Unidos.2? Gracias al gran recibimiento entre los fanáticos japoneses a sus dos primeros trabajos, la banda tocó por primera vez en aquel país en 1971 en donde se grabó el disco en vivo Live, conocido también como UFO Lands in Tokyo, álbum que solo fue lanzado en ese país. Posteriormente fue remasterizado y relanzado en 1999 por el sello Repertoire Records, en varios países.5? En enero de 1972 y durante la gira promocional, Mick Bolton dejó el grupo por motivos personales produciendo que la banda buscara a un nuevo guitarrista para terminar las presentaciones restantes. Los escogidos fueron los guitarristas Larry Wallis del grupo Pink Fairies, que estuvo entre febrero y noviembre del mismo año y durante el mes de diciembre fueron acompañados por Bernie MarsdenDurante la corta estadía de Bernie Marsden grabaron solo el demo de «Give Her the Gun», publicado a mediados de 1973. Mientras estuvieron de gira por Alemania Occidental con la banda Scorpions como soporte, los británicos se interesaron en el talento del joven guitarrista Michael Schenker de tan solo diecinueve años. Tras la salida de Marsden, UFO contactó a Schenker que aceptó integrarse a la banda a pesar de no hablar inglés, en junio de 1973.6? Luego y a fines del mismo año, firmaron un nuevo contrato con el sello Chrysalis Records y establecieron relaciones de trabajo con el músico Leo Lyons, integrante de Ten Years After, para producir los siguientes discos de estudio. A principios de 1974 entraron en los Estudios Morgan para lanzar en mayo el tercer álbum Phenomenon, con un sonido mas cargado al hard rock y heavy metal. De este destacaron algunos de sus mayores éxitos como «Doctor Doctor» y «Rock Bottom», que recibieron buenas críticas gracias al estilo y talento de Schenker.2? Para la gira promocional del álbum, fue contratado el guitarrista Paul Chapman exintegrante de la banda irlandesa Skid Row, aunque solo permaneció en la banda hasta enero de 1975 ya que se retiró para formar la banda Lone Star. En julio de 1975 fue publicado el álbum Force It, que continuó con el sonido del trabajo anterior y que les permitió entrar por primera vez en la lista Billboard 200 de los Estados Unidos en el puesto 71.7? En este trabajo participó como músico invitado Chick Churchill, integrante de Ten Years After tocando los teclados, siendo la primera aparición de este instrumento en un disco de la banda. Por su parte y para promocionarlo, fueron lanzados los sencillos «Shoot Shoot» y «Let It Roll» en el mismo año.8? En 1976 y gracias a los nuevos sonidos que les brindó los teclados, la banda contrató al músico argentino y exintegrante de Heavy Metal Kids Danny Peyronel precisamente en el puesto de teclista, para lanzar en mayo del mismo año el álbum No Heavy Petting, que nuevamente entró en las listas estadounidenses en el puesto 167, pero no obtuvo la misma recepción comercial de los dos anteriores.7? De este álbum destacó la power ballad «Belladona», un gran éxito radial en la URSS, que posteriormente la haría famosa el músico ruso Alexander Barykin gracias a su versión publicado en 1979La gira promocional les permitió tocar en varios países de Europa, como también y por primera vez en algunas ciudades estadounidenses. Tras esta gira, Peyronel fue despedido y luego formó su propia banda The Blue Max. Con la idea de incluir a un nuevo integrante, para ocupar los puestos de guitarrista rítmico y teclista, Michael llamó a Paul Raymond de la banda Savoy Brown, que rápidamente aceptó la ofertaCon Raymond como integrante activo en el grupo, UFO buscó al productor Ron Nevison conocido por trabajar con Led Zeppelin y Thin Lizzy, entre otros. Con él grabaron el sexto álbum de estudio Lights Out, publicado en mayo de 1977, que debutó por primera vez en la lista del país británico en el puesto 54 y en el lugar 23 en los Estados Unidos.7?9? Con este nuevo disco, la banda se ganó buenas críticas tanto en las tierras europeas como en las norteamericanas, gracias a éxitos como «Love to Love», «Lights Out» y el cover de «Alone Again Or» de la banda Love. Tras la gira promocional por los Estados Unidos a principios de 1978, la banda se estableció en Los Ángeles (California), para grabar el disco Obsession publicado en junio del mismo año. A pesar que no fue aclamado y no recibió buenas críticas como el trabajo anterior fue más exitoso en las listas británicas, ya que alcanzó el puesto 26.9? De este destacó el sencillo «Only You Can Rock Me», el primero en entrar en la lista UK Singles Chart en el lugar 50Desde mediados de 1977 las tensiones personales entre Schenker y Mogg aumentaron considerablemente, debido al temperamento del guitarrista alemán. Debido a ello en ocasiones, generalmente en las presentaciones en vivo, dejaba de tocar la guitarra, no realizaba los solos o simplemente dejaba el escenario. Esto provocó pésimas relaciones entre él y el resto de la agrupación durante la gira promocional de Obsession en 1978, a tal punto que Schenker abandonó la banda, obligando a esta a buscar a Paul Chapman para culminar las presentaciones restantes.6? Tras su salida fue invitado por su hermano Rudolf Schenker para participar de las grabaciones del disco Lovedrive. Sin embargo abandonó nuevamente a Scorpions, afirmando que no sentía cómodo tocando canciones de otros.10? Así entonces en 1980 creó su propia banda Michael Schenker Group.2? Sin embargo y antes de su partida, la banda alcanzó a grabar las presentaciones en directo en las ciudades estadounidenses de Chicago y Louisville, para lanzar el que fue su primer álbum en vivo oficial Strangers in the Night. Publicado en 1979, obtuvo críticas positivas a tal punto de ser considerado como uno de los mejores discos en vivo en la historia del rock.11? Este disco además obtuvo el primer top 10 en el Reino Unido, alcanzando el puesto 7 en los UK Albums Chart y también les otorgó su primer disco de plata, al superar las 60 000 copias vendidas en el país británicoCon Paul "Tonka" Chapman como músico activo grabaron el octavo álbum de estudio No Place to Run, publicado en enero de 1980, que contó con la producción de George Martin conocido en el mundo por su trabajo con The Beatles. Con este disco cambió en parte el sonido de UFO, que provocó algunos problemas con los fánaticos de toda la vida, sin embargo les permitió obtener el puesto 11 en el Reino Unido y el segundo disco de plata, por vender más de 60 000 copias en el mencionado país.12? Tras el término de la gira promocional de No Place to Run, el teclista Paul Raymond se retiró de la banda para ingresar en la banda de su excompañero Michael Schenker. Para suplantar su cupo en la banda, buscaron al guitarrista y teclista Neil Carter de la banda Wild Horses y junto a él lanzaron el álbum The Wild, the Willing and the Innocent en 1981, que fue producido por ellos mismos no obteniendo la recepción esperada.2? En 1982 apareció en el mercado mundial el siguiente disco Mechanix, que obtuvo el puesto 8 en el Reino Unido, el segundo más alto de toda la historia de UFO en su país natal.9? Tras la gira promocional el bajista Pete Way recibió una invitación por parte de Eddie Clarke, para integrar su nuevo proyecto Fastway. Luego de estar solo un par de meses en aquella banda, Way fundó su propia banda Waysted en 1983.3? En febrero del mismo año lanzaron el disco Making Contact, en donde Chapman y Carter tuvieron que tocar el bajo debido a que no contrataron un nuevo músico para ese puesto durante las grabaciones del álbum. Tras la gira promocional, junto al bajista Billy Sheehan como músico invitado, Mogg decidió poner fin a la banda por la mala recepción de sus últimos discos y por los constantes cambios y salidas de sus integrantes, lo que hacía inestable la carrera de UFOLuego de dos años que Mogg disolvió la banda, se estableció en la ciudad de Los Ángeles (California), donde se reencontró con Raymond y decidieron reformar UFO con nuevos integrantes. Para ello contrataron a Tommy McClendon conocido por su alias como Atomik Tommy M. en la guitarra, al exbajista de la banda inglesa Eddie and the Hot Rods, Paul Gray, y al baterista Robbie France, que meses más tarde sería reemplazado por exmúsico de Magnum, Jim Simpson.2? En 1985 esta nueva alineación lanzó al mercado mundial el álbum Misdemeanor, que alcanzó puestos similares a los álbumes anteriores en las listas musicales. En agosto de 1986, mientras estaban de gira por Estados Unidos, Paul Raymond nuevamente se retiró de la banda, asumiendo su puesto el teclista David Jacobson como músico invitado. En el mismo año, es decir en 1986, grabaron el EP Ain't Misbehavin' que apareció dos años después en el mercado, ya que el sello Chrysalis puso fin al contrato con ellos, debido a los malos resultados de sus discos. Por ende en 1988 este EP fue lanzado por Revolver Records para el Reino Unido y por Metal Blade Records para los Estados Unidos.13? En 1988 y por segunda vez Mogg puso fin a la banda, por los malos resultados de los dos últimos trabajos y por no sentirse cómodo con la labor de los nuevos integrantesA principios de la década de los noventa, Mogg y Way se reunieron y decidieron reformar la banda con nuevos integrantes. Para ello contrataron a Laurence Archer exguitarrista de la agrupación británica Stampede, al baterista Clive Edwards conocido por participar con los músicos Uli Jon Roth y Pat Travers, y al teclista Don Airey que anteriormente trabajó con Rainbow y Gary Moore. Con esta nueva alineación publicaron en 1992 el álbum High Stakes & Dangerous Men, que les permitió regresar a su clásico sonido. Tras la gira promocional y con alto apoyo de sus fanáticos, Mogg y Way iniciaron las conversaciones con los otros antiguos miembros para reunir a la clásica alineación de los años setenta. Tras algunos acuerdos contractuales y monetarios, Michael Schenker, Paul Raymond y Andy Parker se unieron a Mogg y Way por primera vez desde 1978, iniciando una extensa gira de dos años por el mundo.2? Con los cinco integrantes clásicos grabaron el disco Walk on Water en 1995, que fue lanzado solo en Japón, pero posteriormente fue publicado en los mercados europeos con el pasar de los años.8? Al momento de promocionar el disco con la gira correspondiente, el baterista Andy Parker se retiró de la banda por problemas personales siendo reemplazado por Simon Wright exmúsico de AC/DC. Lamentablemente las diferencias entre Mogg y Schenker reaparecieron, provocando que este último se alejara de la banda en medio de la gira en 1997, causando la cancelación de las últimas fechas. Luego de algunas conversaciones con el mánager, Michael regresó en 1998 solo para tocar en algunos shows de las reprogramadas fechas canceladas a mediados de 1997. Tras ello todos los músicos de UFO prefirieron separarse nuevamente. A pesar de esto último Phil Mogg y Pete Way fueron los únicos que continuaron trabajando juntos y crearon la banda Mogg/Way, con la cual lanzaron los álbumes Edge of the World en 1997 y Chocolate Box en 1999.3? En el año 2000 y tras firmar con el sello Shrapnel Records, nuevamente la banda se reúnió pero esta vez sin Raymond y con el baterista Aynsley Dunbar, conocido por sus participaciones en los álbumes de Frank Zappa.3? En julio del mismo año fue publicado el décimo quinto álbum de estudio Covenant, que en algunas ediciones fue lanzado junto a un disco en vivo denominado Live USA. A pesar de los rumores de la prensa sobre las malas relaciones entre Schenker y Mogg, la alineación permaneció hasta el 2002 para lanzar el disco Sharks, que recibió gran apoyo de los fanáticos europeos durante la gira.8? En 2003 y con la gira culminada Schenker se retiró de la banda, pero antes creó el proyecto The Plot junto a Pete Way y al baterista Jeff Martin, con la cual publicaron el disco homónimo en el mismo año.Con las partidas definitivas de Schenker y Dunbar, el resto de la banda contrató a Vinnie Moore y a Jason Bonham para los puestos de guitarrista y baterista respectivamente. Con la idea de relanzar nuevamente la carrera de la banda, a fines de 2003 firmaron con el sello SPV/Steamhammer Records y entablaron relaciones con el productor Tommy Newton para trabajar en los álbumes siguientes. En marzo de 2004 apareció en los mercados el disco You Are Here, que además marcó el retorno de Raymond a la agrupación tras cerca de cinco años fuera de ella. Durante la gira promocional fue grabado el primer doble DVD titulado Showtime, que fue lanzado en noviembre de 2005 junto a un disco compacto en vivo. En este mismo mes, el baterista original Andy Parker regresó para la presentación en el Piorno Rock Festival celebrado en Granada, España, quedando en ese puesto hasta el día de hoy. En 2006 fue lanzado el décimo octavo álbum de estudio The Monkey Puzzle, que fue considerado como el disco más pesado de la banda después de la salida del guitarrista alemán Michael Schenker. En 2009 y antes de ingresar a los estudios para la grabación de un nuevo disco Way fue diagnosticado de serios problemas al hígado, por la cual sus médicos le recomendaron no participar en las grabaciones.14? Finalmente en junio del mismo año fue publicado el álbum The Visitor con la participación de Peter Pichl, miembro de Nektar como músico de sesión en el puesto de bajista. El trabajo además debutó en el puesto 99 en el Reino Unido, siendo el primer álbum en volver aparecer en la lista UK Albums Chart, desde Misdemeanor de 1985.9? Luego que Way no pudo recuperarse a tiempo para la gira promocional, la banda contrató a Rob De Luca conocido como el bajista de Sebastian Bach para las presentaciones entre los años 2009 y 2011.15? Para la segunda parte y a mediados de 2011 fue también contratado Barry Sparks en el mencionado puesto. Por otro lado y en el mismo año, los exmiembros de la banda Danny Peyronel, Laurence Archer, Clive Edwards y junto a Rocky Newton, exbajista de McAuley Schenker Group, fundaron la banda X-UFO, con la cual dan presentaciones en vivo tocando distintas canciones de UFO. En 2012 fue lanzado el vigésimo disco llamado Seven Deadly, que nuevamente debutó en las listas musicales del Reino Unido en el puesto 63.9? Este al igual que el anterior fue grabado junto a un bajista de sesión, ya que la banda no quiso contratar a un reemplazante de Pete Way. Sin embargo para la gira promocional fueron nuevamente acompañados por Rob De Luca, tras la salida definitiva de Way. En 2013 en una entrevista a Paul Raymond contó que estaban preparando un nuevo disco de estudio, pero que hasta ese momento no tenían confirmado nada. Finalmente en febrero de 2015 se puso a la venta A Conspiracy of Stars, el primer álbum con Rob De Luca como miembro oficial del grupo.Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://www.ivoox.com/podcast-biblioteca-del-metal-recopilation_sq_f1308558_1.html

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love". Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album. Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire … Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com.Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love".  Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album.  Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire …  Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com. Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love". Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album. Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire … Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com.Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love".  Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album.  Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire …  Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com. Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

Two hours of trashy garage, punk, rock, soul and fury with host DJ Jdub. This week: a bunch of good stuff including lot's of new stuff! Outrage Radio playlist - May 7th, 2020: [0:00] 1. The Cramps – The Natives Are Restless 2. The Spaceshits – Can’t Fool With Me 3. The Chats – Drunk And Disorderly (2020) 4. Gino And The Goons – Got No Friends (2019) 5. Teengenerate – Let’s Get Hurt [14:42] 6. The Flat Worms – Plaster Casts (2020) 7. Cold Meat – Piscies Crisies (2020) 8. Primitive Teeth - Bubble Of Me (2020) 9. Moron’s Morons – Rise With Me (2020) 10. Surfbort – Billy (2019) 11. L7 – Dispatch From Mar-A-Lago [32:25] 12. The Stranglers – Nice ‘N Sleazy 13. The Stranglers – No More Heroes 14. Control Top – One Good Day (2020) 15. Tropical Fuck Storm – This Perfect Day (2020) 16. The Schizophonics – Streets Of Heaven And Hell 17. Street Walkin’ Cheetahs – Fast Fucked and Furious (2020) [53.25] 18. The UFO Club – Werewolf 19. Dead Moon – Dead Moon Night 20. X – Delta 98 Nightmare (2020) 21. The Spits – Don’t Shoot 22. Otoboke Beaver – Hikage No Onna (2019) 23. Eric Nervous And The Beta Blockers – Horseshit (2020) 24. The Detroit Cobras – Stay Down (2019) [1:14:57] 25. The Muffs – Right In The Eye 26. The Humpers – Bombs Away 27. Motorcycle Boy – Feel It 28. The Creamers – Mom Watches T.V. 29. MC5 – Gotta Keep Movin’ 30. The Kids – This Is Rock ‘N Roll 31. The Crazy Squeeze – Something On My Mind [1:36:04] 32. Manic Hispanic – I Got A Right 33. Chubby And The Gang – Speed Kills (2020) 34. Trampoline Team – Must Be Nice (2019) 35. The Tissues – Formation 99 (2020) 36. C.H.E.W. - Noise Square (20200 [1:52:18] 37. FTC - Flatten The Curve (2020) [1:57:33] 38. Ian Whitcomb - You Turn Me On Outrage Radio broadcasts live - Thursdays, 9-11PM at LuxuriaMusic.com.

On the December 23 edition of Music History Today, Ice Cube gets bounced, Rod Stewart goes disco, & the UFO Club opens. Also, happy birthday to Eddie Vedder & Derek Small of Spinal Tap.

KEN R JOHNSTON SPEAKER AT 1ST ALIEN XPO at KNOXVILLE CONVENTION CENTER - Travis Walton, and Steve Bassett  August 17-18, 2019. Barry and Jan will return to talk about CUFO FILES.Theresa J Morris, Thomas R Becker, Ralph Kennedy Johnston Sr., Kimberly O'Connor to look forward to A TEAM of UFO Historians and Researchers.UFO Enthusiasts and Space Advocates. We will share a take on an armchair philosophy discussion on the WHO's WHO in Center for UFO Studies, CUFOS and the older paper files in the archives in CHICAGO of the A.I. Ancient Investigators with our ACIR - UAP Unidentified Anomalous Phenomena. TEAM MANAGEMENT.

TJ Morris Agency is sharing ACO Club with  Barry Greenwood and Jan Aldrich, UFOLOGISTS, Thomas R. Becker. Thomas is Amad Painter and is Co-Host with Ken R. Johnston of ACO Archivists Assessment Allied Command Officers Fleet Command Auxiliary prior miliitary service club. Amad and TJ are prior Navy and Ken was a marine. Jan  was Army.  Theresa J Morris, ACO UFO Club Investigator invited Historians Jan Aldrich and Barry Greenwood to share their oral history of their experiences as UFO Investigators that Dr. Bruce Maccabee, Ph.D. has labeled  the other A.I. or Ancient Investigators.ACO Club has the American Communications Online SQL Database to keep up digital records we can co-create with various people and associations.has been responsible for syndicating and producing other notable talk radio shows by TJ Morris ACIR.

We will cover Abduction , spirits , UFO and the afterlife and all things in the UFOLOGY field. Tina Bird of U.K. and Tommy Hawksblood of U.S. both are members of our ACO UFO Club and are listed in our Who's Who in UFO Association Organization. They have both been experiencers in the UFO Field and now do research and reporting. ACO Association and UFO Association share in an alliance with Allied Command Organization a division of American Communications Online.  We are getting organized in our Cosmos Radios and TJ Morris ET Radio around our podcasting associates such as itunes, iHeart, spreaker, stitcher, FMradio, Podbean, Podcasts, Soundcloud, MixCloud. We will sponsor a weekly show on Tuesdays to share educational entertainment with our Advanced Comunications Agency, TJ Morris Agency. Thomas R Becker is our General Manager for all our divisions and/or departments for ACO UFO Club Radio Shows. We also share articles, domains, and weekly ezine articles about our podcasts and LIVE RADIO SHOWS. We cover supernatural, unexplained, intrigue, and science to science fiction. We have a veterans and senior support community and are extending our fellowship to others around the world. Mission is space advocacy which covers disclosure and sharing what information is shared with our ACIR Reporters regarding technology and futurology. Consciousness and Intelligence is not necessarily the same. We are learning how to educate our selves and friends regarding information, disinformation, and misinformation and it is up to the listeners to decide what each truthseeker resonates with inside! 

Dr. Irena McCammon Scott,PhD · Physiology Radioisotope techniques · Mathematics, Statistics · Chemistry, Physics · Physiology Radioisotope techniques · Mathematics, Statistics chemistry, Physics · Aerospace Center,Physical Scientist/Cartographer.lite photography & photogrammetry.photogrammetry, cartography, astronomy, mapping celestial bodies, surveying, computer languages, & others, clearances (2nd & Arsenol) SF 50; U.S. Air Force’s ACIC Aeronautical Chart & Information Center - later DMA Aerospace Center/Aerospace Center, NATIONAL GEOSPATIAL-INTELLIGENCE AGENCY provided charts and graphics to assist planning and execution of Apollo 11 mission determining lunar orbits and finding landing sites. Cartographer,Defense Intelligence Agency.Intellgence Research Secialist,Analyst · Washington, District of Columbia,PhD level position in Satellite photography & photogrammetry, high security clearances (2nd & 117 Irving St) Intelligence Research Specialist (P. I.), GS-11, Standard Form 50 Published; Coona satellite program.Lowery Air Force Base, Colorado,Aerial Photogrammetrist.

ACO Club  American Communications Online is in cooperation with Dr. Richard Alan Miller. Why? Because he is a brilliant author and teacher of metaphysics.  To maintain and foster social relationships with our colleagues and peers for our changing future in the communication of information and our per review new journal. Janet Kira Lessin and Tommy Hawksblood Sinisi join TJ for this episode.Theresa Janette called by TJ is a woman veteran who is choosing who to share information in ACO Club. ACO Association and UFO Association she is building. ACO is more about science and medicine with integrative medicine topics including the supernatural and metaphysical topics. While UFO Association concentrates on unidentified flying objects, unidentified anomalous phenomena, as UAP, and Unidentified submersible objects as USOs. Also, Janet Kira Lessin started Ascension Center and Ascension Age along with Alien Contact Org with TJ on this Radio Show in 2014. We share alienology as the study of aliens, abductees, ET extraterrestrial contact consciousness, realms, dimensions, and how we absorb and perceive information sharing transpersonal psychology in our ACO Social Networking http://richardalanmiller.com.We will be sharing information for our ACO Club - ACE Life Coaches in today's radio show about the supernatural and how metaphysics is helping the future. As Life Coaches more information dealing with protocols, theory, research questions dealing with the psychology behind social network systems and how they shape cyberspace and our virtual reality in media, tv, movies, and cosmos consciousness.  We will share the ACO Invisible TV of our levels and dimensions in our soul's own creation as the Prime in the LCS or Larger Consciousness System.Would you like to learn more? We are going to have our ACO Club Members to partcipate in workshops we are building our own life creations.

Ellen Allien ist ein Berliner Weltstar – allein im Oktober 2018 legt sie in Japan, Korea, Frankreich, England, Ibiza, Italien, Spanien, Deutschland und Portugal auf. Als Labelmacherin von B-Pitch Control veröffentlichte sie u.a. die Platten von Paul Kalkbrenner, Tok Tok, Sascha Funke & Co. Tanith ist bereits seit 1988 DJ in Berlin und hat bereits im legendären UFO Club und von Anbeginn bei Tekknozid und im Tresor aufgelegt. Gemeinsam machen sie seit 1994 die After Hour „Club the Rest“. In 1000 Tage Techno sprechen sie über die Anfänge und schwere Zeiten, Berlin und den Wandel der Musik und der Szene. Ellen verrät, was die besten Clubs der Welt sind und verrät, wo sie ihre Boyfriends kennenlernt , Tanith spricht über brennende Mischpulte, es entwickelt sich ein spannendes Gespräch, in dem sie u.a. verraten, wie sie sich fithalten und was sie antreibt.

We’re on location at the legendary Flying Saucer in Charlotte. We talked to General Manager Erik Hodgeman and assistant manager Jonathon Mitchell about what keeps the Saucer flying. While we we recorded, we celebrated Ford’s second plate from his UFO Club. If you haven’t joined the UFO Club at The Flying Saucer, stop by today and start earning your beer prizes. The post Episode 160- The Flying Saucer appeared first on Cheers Charlotte Radio | Craft Beer and Homebrew Podcast.

PANEL on PHENOMENOLOGY - with Bill M. Tracer,Janet Kira Lessin, Tessa B. Dick, join Host - TJ Morris. Discuss Philip K. Dick Movies with Tessa 5th wife- Author in ACO author's Club.  Theresa J Morris, Psychic Life Coach shares in the various skills we all have and how to sharpen our tools! ACO CLUB - Authors Club, Psychics Club, UFO Club. We share as Universal Life Metaphysicians with the ACE MEtaphysical Institute. People share in promoting ancient wisdom and new thought teachings with TJ Morris ET Radio Shows. TJ now has Cosmos Radio Organization for other Radio Syndicated Shows that want to share her time here with others. Harold

ACO UFO CLub of the Ascension Center Organization as ACO sharting the ACE Folklife Historcal Society as ACE for knowing Alien Civilizations Exist! We celebrate with K.C. Patrick, J.K. Lessin, Stephanie Parrish join Theresa J Morris on the TJ Morris ET COSMOS RADIO SHOW , A Blog Talk Show about Alien Contact Organizers a Fellowship of Womanship.  We share our ALien ET UFO Community and our experiences. Steaphanie is Theresa's daughter and comes on the last 30 minutes of the show. We are offering a support group and an annual meet and greet for those who share interest in the Alien Contact Organization. We are the ACO UFO Club Members who share the ERA COP Magazine, Alien Contact Organization and Alien Cosmos Expos. 

ACO UFO Club is about phenomenology dealing with unidentified past ancient mysteries and new thought teachings on UFO Sightings and Alien Contact Experiencers (ACE).. We are dealing with the new Ascension Age  with the horizontal and vertical dimensions, We deal with the difference in physical energy, resonance, and vibration. We share particles and waves. We share people who are learning about themselves as individuals and how they fit into this world of wonder.  Life is a gift and this is a working planet where we explore our own spiritual path and the mysteries of our own minds and place in space. There is a new shift in time and space and in our own minds. ACO is about accepting the fact that there is more and everyone of us is important! We are shifting our manifestation projects. We are about health & prosperity for all. See what was once called a UFO and have it become an IFO. Unidentified to Identified. This is the Future! Linear planet science in our innovative lives. We as humanoids come and go from this planet.Home is where the heart is!. Alien Contact Organization (ACO) is welcoming those who want to talk abut ALIENS, Extraterrestrials, UFOS, and we have the ACO with EVENTS as Alien Cosmos Expos Classes, Seminars, Workshops, Ebooks, Books, and Training as Life Coaches.TJ is a Mentor. We have Engineers, Astronauts, Researchers, Writers, Authors Artists and we all have a friendship. TJ is a social networker and ambassador of goodwill. TJ is welcomeing new friends. If you want to know TJ find her own Facebook and LIKE HER AND FOLLOW HER HERE ON HER RADIO SHOW of FRIENDS in the ACO CLUB she funded and founded. JOIN Education Research Association Community Online Press as (ERACOP.com) Magazine a PEER REVIEW as PEER TO PEER talks on blog talk. We invite friends in the USA to become a part of the rise in the vibe of the tribe. JOIN us  and learn the art of your own life story. TJ Morris dba ACIR, ACO

Keith Jones ,label chief of Fruits de Mer Records and Pete Bingham ,Guitarist and Electronics wizard ,from Wales instrumental Space Rock greats Sendelica join Pod host Jay Daniels to talk about The 13th Dream of Doctor Sardonicus Festival ! --------------------------------------------------------------------------------------------- An epic festival event which they are co organizing and takes place Friday 7th to Sunday 9th August 2015 at the Cellar Bar and Penny's Gallery, in Cardigan, Wales ! -----------------------------------------------------------------------------------------> Also on this podcast you will hear a selection of music hand picked by Pete Bingham Comprised from songs from some of the Bands who will play at the is amazing three day indoor festival of Psychedelica presented by Fruits De Mer, UFO Club, and Sendelica ---------------------------------------------------------------------------------------------> Podcast Set List : 1.Conveyor - The Spurious Transients 2. Cotton Wood -AstralAsia 3.Set the Controls for the Heart of the Buddha -Sendelica 4. Theme from Clyde -The Bevis Frond 5. Paper Garden -The Honey Pot 5.The Happiness Vending Machine -The Luck of Eden Hall 6.Tortuaga -The Earthling Society ----------------------------------------------------------------------------------------- Special thanks to Keith Jones ,:Fruits de Mer Records, - possibly the world's smallest vinyl-only psych/prog/acid folk/krautrock/spacer record label :http://www.fruitsdemerrecords.com/ and to : Pete Bingham Guitarist and Electronics Wizard from Sendelica : http://sendelica.bandcamp.com/ (Be sure to check out Muffin Junkee 22 :Sendelica if you haven't done so already !) : http://www.buzzsprout.com/10029/243650-muffin-junkee-22-sendelica-anima-mundi ------------------------------------------------------------------------------------------> Also thanks to :The Spurious Transients ,AstralAsia ,Sendelica ,The Bevis Frond ,The Honey Pot ,.The Luck of Eden Hall and The Earthling Society who are some of the excellent bands you will hear at this grounding break psychedelica festival ! -----------------------------------------------------------------------------------------> Others you will hear if you attend are : Soft Hearted Scientists Schnauser Steve Kelly Paradise 9 MagicBus Jack Ellister -------------------------------------------------------------------------------------------> Muffin Junkee Theme by Paul Worsley

Topics: The Occult, Led Of The Rings, Tolkien, Satan, Hawkwind, The Divine, All Things Shining, Too Much To Dream, LSD, 60s, UFO Club, Arthur Brown, Magic, Bowie, Valis, Prophets, Shabazz Palaces, Goat

42 Minutes 179: Peter Bebergal - Season Of The Witch: How The Occult Saved Rock And Roll - 04.07.15 After a month of music, the program reconnects with an investigation of meaning, this time, the meaning of music with the help of Peter Bebergal, author of Season Of The Witch. Topics Include: The Occult, Led Of The Rings, Tolkien, Satan, Hawkwind, The Divine, All Things Shining, Too Much To Dream, LSD, 60s, UFO Club, Arthur Brown, Magic, Bowie, Valis, Prophets, Shabazz Palaces, Goat. Purchase: Season Of The Witch at http://www.amazon.com/gp/product/0399167668/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=0399167668&linkCode=as2&tag=frthbeofthwh-20&linkId=RCP7DSEZM2W3MBAU Visit: http://mysterytheater.blogspot.com Play: The Keep On The Borderlands from Dungeons & Dragons http://gobbi.free.fr/scenarii/ADD/TSR%209034%20-%20B2%20-%20Keep%20on%20Borderlands.pdf

This is the first out of four episodes about the UK underground psych and prog. In this first episode we are focusing on the early psychedelia scene in 1967-68. As with the pop cultural development in the US, psychedelia really becomes big in the UK around 1966-67 and many of the R&B and beat band would be turned on by psychedelia and completely transform their style during this period of time. The early British psychedelia is usually very pop oriented with strong emphasis on melodies but would soon develop into more heavy psych and progressive with more complex song structures, as we will hear in later episodes. This is the beginning of a whole range of styles that would be dominating the rock music in the 70s. Giles, Giles and Fripp – The Cheerful Insanity of Giles, Giles and Fripp (Deram) 1967- How Do They Know Dantalian’s Chariot (Columbia) 1967-Mad Man Running Through the Fields Skip Bifferty – s/t (RCA-Victor) 1967-Yours For At least 24Art – Supernatural Fairy Tales (Island) 1967Wimple winch (Fontana 1967)-Atmosphere Mike Stuart Span (Jewel) 1968-Children of Tomorrow

Cameron Pack is the author of the new book The Restored Project Blue Book UFO Files: June 1947 & Before. This volume represents a clear and legible presentation of the US Air Force’s Project Blue Book UFO files. The collection includes sighting cases which date from June 1947 and prior. Cameron began his research into the topic of ufology after a 2003 close encounter of the first kind. The experience led Cameron to begin looking at thousands of different reports of UFOs from around the world. A favorite area of research has always been Project Blue Book and the classic UFO cases from that time period. Cameron has made Freedom of Information Act requests to local law enforcement agencies, the FBI and the US Air Force for specific areas of information on UFOs. He became a certified field investigator for the Mutual UFO Network in 2009. He also served as Assistant State Director for Virginia in the Mutual UFO Network from 2010 to 2013. Also in 2009, Cameron founded the UFO Club of Virginia Beach. He acted as club president until 2013, when he retired from his duties. The club was a tremendous success, with articles about the group featured in the local newspaper on two occasions You can buy Cameron’s book on Amazon.com.